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Klang has been used among others by Hugo Riemann and by Heinrich Schenker. In translations of their writings, it has erroneously been rendered as "chord" and more specifically as "chord of nature". [4] The idea of the chord of nature connects with earlier ideas that can be found especially in French music theory.
It became a landmark in the development of serial music. Serialism was a continuation of the Second Viennese School's innovations. Composers like Karlheinz Stockhausen systematized musical parameters like pitch, rhythm, and timbre. [4] Klangfarbenmelodie was particularly influential in the development of electronic music. [9]
Heinrich Schenker (19 June 1868 – 14 January 1935) was an Austrian music theorist whose writings have had a profound influence on subsequent musical analysis. [1] His approach, now termed Schenkerian analysis, was most fully explained in a three-volume series, Neue musikalische Theorien und Phantasien (New Musical Theories and Phantasies), which included Harmony (1906), Counterpoint (1910 ...
This is a glossary of Schenkerian analysis, a method of musical analysis of tonal music based on the theories of Heinrich Schenker (1868–1935). The method is discussed in the concerned article and no attempt is made here to summarize it. Similarly, the entries below whenever possible link to other articles where the concepts are described ...
Riemannian theory; K. Klang (music) P. Parallel and counter parallel; T. Terzschritt This page was last edited on 26 February 2020, at 01:49 (UTC). Text is available ...
Klang (music), a concept in Riemannian and Schenkerian theories based on the German word Klang, meaning 'resonance' or 'sound; Klang (Stockhausen) (2004–2007), cycle of compositions by Karlheinz Stockhausen; Klang, the third studio album by The Rakes; Kling Klang Studio, the private music studio of the band Kraftwerk
Harmony (German: Harmonielehre, or "Theory of Harmony") is a book published in 1906 by Heinrich Schenker. It is the first installment of Schenker's three-volume treatise on music theory entitled New Musical Theories and Fantasies; the others are Counterpoint and Free Composition. Schenker's name did not appear on the original edition of the ...
Music theory as a practical discipline encompasses the methods and concepts that composers and other musicians use in creating and performing music. The development, preservation, and transmission of music theory in this sense may be found in oral and written music-making traditions, musical instruments, and other artifacts.